Most producers dream of a hit show, a runaway success, and a long run—where a New York, Broadway success is the pinnacle of achievement. But the fictional Max Bialystock (Gary Rose) and Leo Bloom (Joshua Thia) are not ‘most’ producers. Their aim to produce a profitable flop turns sour as the fictitious 1959 Springtime for Hitler has a rapturous reaction from audiences and reviewers alike (ah, beware those reviewers!). The Producers is a satirical romp that enterains as it exposes the worst aspects of the Broadway production treadmill: greed, the casting couch, and the perils of being an ‘angel’ (investor).

Pictured: Ensemble 'Old Ladies,' The Producers. Picture Credit: Chirstopher Thomas (Courtesy Savoyards) 

Pictured: Ensemble 'Old Ladies,' The Producers. Picture Credit: Chirstopher Thomas (Courtesy Savoyards) 

Mel Brooks ‘s music and lyrics (book by Mel Brooks and Thomas Meehan) has been highly-successful on film (1968, and later reworked in 2005) and on the stage. And the work was well-served by this excellently-paced, humorous, stylish, and beautifully-cast 2017 Savoyards production. The creative team clearly gelled: hats off to the talented Gabriella Flowers (Director), Mark Beilby (Musical Director) and Hannah Crowther (Choreographer). Costume design by Kim Heslewood deserves praise—in particular, the outfits for Keep It Gay and Ulla’s blue dress for That Face. Sheryl-Lee Seecomb’s Set Design was excellent—funds may have been low for the courtroom scene, but the DeBris Townhouse, Bialystock and Bloom Office, Whitehall and Marks Offices, and main set were quite fabulous.

Highlights of the performance included The King of Old Broadway (including those high-kicking dancing nuns), I Wanna Be A Producer (great work by Thia and the tap-dancing Chorus, with the lovely deep voice of the soloist in the accounting team, and a quite fantastic set), any time the ‘old ladies’ took to the stage (particularly when dancing with those Zimmer frames), and the audience favourites Betrayed and Keep It Gay. The ensemble work was superb, and the three lead actors produced believable characters that were at their finest in the opening of Act Two (That Face,with great harmonies by Rose and Bloom, and dance by Grace Clarke [Ulla] and Thia).

Pictured: Scott Edward (Carmen Ghia). Picture credit: Christopher Thomas (Courtesy Savoyards).

Pictured: Scott Edward (Carmen Ghia). Picture credit: Christopher Thomas (Courtesy Savoyards).

Memories that remain with me after the show include a number of wonderful pieces of ‘business’—from the pigeon, to the camping up by the resident team in Roger DeBris’s Townhouse (notably in Keep it Gay). And special mentions for two brilliant cameo performances: Reindert Toia was just fabulous as the ‘choreographer,’  keeping many of those around me in stitches, and we all enjoyed the great work by Scott Edwards (Carmen Ghia), who nearly stole the show. Edwards’s comic partnership with David Morris (Roger DeBris) resulted in hysterical laughter from much of the audience—and not just as the result of the high camp walk, the flashing of those fabulous heels and rather too much of the undergarments of the ‘Chrysler Building dress.’

With a production of such a high standard I have very few quibbles. For me the sign of good lighting design and operation is that I’m not too aware of it. Generally good (credit to Alan Nutley for his hard-working lighting design), there were a few times when the cast still managed to be left in the dark—most notably when the ‘spot’s’ led, rather than followed, the usherettes at the start of the show. Opening night problems with Sound (David Sowdon) mainly appeared to be fixed, although there were occasional problems with balance (notably hearing Rose’s words during some of the songs) and some microphone cackles and pops (possibly as off-stage mics were fixed during the second half). And although the orchestra did a great job—itis wonderful to have live music at any performance—I did feel that the brass section might have been occasionally a little ‘fluffy’ (but I joined the many enthusiastic members of the audience in remaining to give them their full applause).

Iona Performing Arts Centre is a great venue: large stage, great acoustics, ample free parking, and comfortable and spacious seating. But it is a pity that this cast did not have the opportunity to bring their work to one of Brisbane’s main stages. It’s a fun show: cheeky satire with great costumes, plenty of high kicks, live music and wonderful direction. But the production was only available for a mere 7 shows. I look forward to seeing the next Savoyards show with these three talented creatives at the helm, as the current run of The Producers ended on 7 October 2017.

The Producers: A New Mel Brooks Musical The Savoyards (Directed by Gabriella Flowers). IONA Performing Arts Centre, Wynham, 23 September - 7 October, 2017. Tickets $25 (prep-Yr 12)-$48 (Adults). Concessions $45 and group tickets $43(10+). 170 minutes (including an interval).

 Catherine Lawrence

The reviewer attended The Producers: A New Mel Brooks Musical at the Iona Performing Arts Centre, on Saturday, 7th  October 2017, 1:30pm.


Main image (L to R): Max Bialystock (Gary Rose) and Leo Bloom (Joshua Thia). Picture Credit Christopher Thomas (Courtesy Savoyards Musical Theatre).